The melancholic Yorkshire Pennines provide the dreary and rugged backdrop to an intricate migrant gay love story which is subtly underpinned by themes of repressed homosexuality, disenfranchised youth, immigration and racism.

Blade Runner 2049 was released theatrically in October 2017 to critical acclaim, with many asserting that it improved upon the story established in Ridley Scott’s 1982 original, a rare feat for any sequel, let alone a sequel released thirty-five years after the original had gained cult-classic status.

Red-head beauty and rising British star Emily Beecham, best known for her role in The Coen Brothers movie Hail, Caesar! plays the fiercely independent yet fragile Daphne, who resides in her one bed apartment in London with pet snake Scratch for company.

At points this year it’s felt as if everything started to go wrong after David Bowie died in January: a wave of other celebrity deaths followed, while in the political sphere we suffered Donald Trump’s seemingly unstoppable rise, while the UK was splintered by the Brexit referendum.

Dzigo Vertov’s Man with a Movie Camera was boldly declared the greatest documentary of all time by esteemed cine-mag Sight and Sound recently, but it’s a term that suggests a comfortable, predictable format not to be found here.

There’s clearly a strong story to tell in the life of experimental psychologist Stanley Milgram, but despite an able cast and some welcome stylistic flourishes, Experimenter never quite gets its results.

It’s hard to overstate the influence of Jean-Luc Godard on the cinema that came after him – especially immediately following the death of his Cahiers du Cinéma and French New Wave contemporary Jacques Rivette.